… …… Usually the invitation to the dance prelude a minimum knowledge between two people and a possible appointment of success or not. In this “Invito Alla Danza” is the title of a delightful album with which the sisters Nadia and Angela Tirino, graduated from the “L. Cherubini ”of Florence and protagonists in prestigious concert halls, show an almost opposite approach. The communion of passion and talent is a ploy to transport people to another era, in places that can only be viewed by scrolling through the pages of history books, but without the macabre and distressing revisionism that often accompanies certain outputs. The lineup is inaugurated with some re-readings by Johannes Brahms who in 1865 composed sixteen small waltzes in homage to the music critic Eduard Hanslick. The peculiarity of the work is that the German composer, defined as the antagonist of Wagnerian “futuristic music”, arranged waltzes for two and four hands, receiving the favor of the public in both cases. The first two, in si e mi major, are used to detach the listener from the noises of everyday life and drag him into another dimension; the fourth to charm and the fifth, in reality the fifteenth in the major and without doubt the most complex technically, to amaze. The journey, sonorous but at the same time extremely physical, continues with the magnificent ‘Ballszenen’ by Robert Schumann, one of the greatest romanticists in history continually mentioned in the neo-classical movement, and with ‘Wiegenlied’ by Halfdan Kjerulf, Norwegian master who inspired the poems of Edvard Grieg. This is the turning point, not only for the purity of the execution of these two gems but because suddenly the vision of the two pianists is shown in all its entirety. Other suites are compendium of a dreamy offer that does not at all prelude to something that is not long lasting but translates into an eternal gift. Also noteworthy is “Cantilena Campestre / Scene Di Caccia” by Mario Tarenghi and “Tango Ballade” by Kurt Weill, transcribed by Giuseppe Fricelli. And hence the true modernity. … ….

Lorenzo Becciani